Contents

The story is of a veteran hussar in the Austrianarmy in the first half of the 19th century who sits in the village inn regaling his listeners with fantastic tales of heroism (in the tradition of Miles Gloriosus[2]). His supposed exploits include winning the heart of the Empress Marie Louise, the wife of Napoleon, and then single-handedly defeating Napoleon and his armies. Nevertheless, he finally renounces all riches in order to go back to his village with his sweetheart.

Kodály wrote in his preface to the score: "Háry is a peasant, a veteran soldier who day after day sits at the tavern spinning yarns about his heroic exploits... the stories released by his imagination are an inextricable mixture of realism and naivety, of comic humour and pathos." He also comments that "though superficially he appears to be merely a braggart, essentially he is a natural visionary and poet. That his stories are not true is irrelevant, for they are the fruit of a lively imagination, seeking to create, for himself and for others, a beautiful dream world."[3]Háry János embodies the poetic power of folklore to go beyond political frustrations; Kodály intended to bring his national folk music to an operatic setting.[1]

Both the opera and the suite begin with an orchestral 'musical sneeze', best explained in Kodály's own words: "According to Hungarian superstition, if a statement is followed by a sneeze of one of the hearers, it is regarded as confirmation of its truth. The Suite begins with a sneeze of this kind! One of Háry's group of faithful listeners … sneezes at the wildest assertions of the old tale-spinner."[4]

In the Hungarian village of Nagyabony people gather at the tavern. A picture of Napoleon hangs on the wall. The regulars and students wait glass in hand for the next tale from the old soldier Háry János.

First Adventure – On the frontier near Moscow

A border crossing point between Galicia and Russia; there is frost and ice on the Russian side, sun shining and flowers blooming on the Hungarian side. János, after having got rid of all his female admirers meets Örzse.

The court chamberlain complains that Mária Lujza and her retinue have not been able to cross the frontier. Örzse and János talk with Marci, a Hungarian coachman working at the French Court, who tells them that Mária Lujza, the daughter of the Emperor, is being refused passage by the Russian guard. János pushes the border gate along the ground, so that she finds herself across the Hungarian frontier. Marci toasts the young couple as Örzse and János sing a duet. Ebelasztin says the noise is disturbing the rest of the princess. However when Mária Lujza enters she takes a fancy to János and invites him to come to Vienna and enter the Imperial Guard. He asks for double rations for his horse, Hungarian livery for Marci, and for Örzse to come with him. The Russian sentry is worried that he will be punished if he is found in the wrong country. Ebelasztin fails to push the frontier post back, but János manages to do it.

Intermezzo

Second Adventure – In the Garden of the Imperial Palace, Vienna Burg

The park is resplendent. In the course of conversation between János and Marci Ebelasztin's dislike of János becomes clear. Mária Lujza tells János to seek her if he ever needs assistance. Ebelasztin sends János to the stables where he has to ride the wildest horse, but János returns from the roof unruffled by the ride. Mária Lujza points out János to the Empress. The envious Ebelasztin tells Örzse that he has in his pocket the declaration of war from Napoleon which he intends to use; moments later military sounds emerge from inside the palace. János has been promoted to captain by the Emperor. As the curtain falls an enormous cannon is wheeled on.

Third Adventure – A battlefield near Milan.

Háry János, by now promoted to the rank of colonel, single-handedly wins the battle with the wind from drawing his sword, and has Napoleon kneeling for mercy. The emperor’s wife now wants to win his heart, to the consternation of Örzse. Mária Lujza and Örzse argue over János, who refuses to marry the princess, who in turn threatens suicide. János saves the situation and leads the soldiers in a rousing march.

Fourth Adventure – Imperial Palace, Vienna Burg.

The preparations for the wedding of the hero János and the infatuated princess are under way, but János can't eat. All the archdukes come and pay homage to the hero. Örzse arrives to take leave of Háry but, now an infantryman, he swears allegiance to the Emperor - whether as a soldier or farmer. True to her and to his homeland, despite all the imperial trappings they leave the court.

Epilogue

Back at the inn in Nagyabony, János concludes by telling his sleeping audience that the condition of freeing Napoleon was that a gold watch should be sent to the headman of the village – who replies that he never got it. János states that the only person who can corroborate his story is Örzse – who is now dead.

From the music of the opera, Kodály extracted the orchestral Háry János Suite, a popular piece in the classical repertoire. This notably includes the cimbalom, a traditional Hungarian variant of the hammer dulcimer. The world première of the suite was at the Gran Teatro del Liceo Barcelona, on 24 March 1927, by the Pau Casals Orchester conducted by Antal Fleischer.[7]

1.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below

2.
Hungarian State Opera House
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The Hungarian State Opera House is a neo-Renaissance opera house located in central Budapest, on Andrássy út. Originally known as the Hungarian Royal Opera House, it was designed by Miklós Ybl, construction began in 1875, funded by the city of Budapest and by Emperor Franz Joseph I of Austria-Hungary, and the new house opened to the public on the 27 September 1884. It is the second largest opera house in Budapest and in Hungary and they took over the Castle Theatre and, in 1835, were joined by another part of the troupe, after which performances of operas were given under conductor Ferenc Erkel. By 1837 they had established themselves at the Magyar Színház and by 1840, today, the opera house is home to the Budapest Opera Ball, a society event dating back to 1886. In the 1970s the state of the building prompted the Hungarian State to order a renovation which eventually began in 1980. The reopening was held exactly 100 years after the original opening and it is a richly-decorated building and is considered one of the architects masterpieces. It was built in style, with elements of Baroque. Ornamentation includes paintings and sculptures by leading figures of Hungarian art including Bertalan Székely, Mór Than and Károly Lotz. Although in size and capacity it is not among the greatest, in beauty, although many opera houses have been built since, the Budapest Opera House is still among the best in terms of the acoustics. In front of the building are statues of Ferenc Erkel and Franz Liszt, Liszt is the best known Hungarian composer. Erkel composed the Hungarian national anthem, and was the first music director of the Opera House, each year the season lasts from September to the end of June and, in addition to opera performances, the House is home to the Hungarian National Ballet. There are guided tours of the building in six languages almost every day, the decoration of the symmetrical façade follows a musical theme. In niches on either side of the entrance there are figures of two of Hungarys most prominent composers, Ferenc Erkel and Franz Liszt. Both were sculpted by Alajos Stróbl, the vaulted ceiling is covered in murals by Bertalan Székely and Mór Than. Wrought-iron lamps illuminate the wide stone staircase and the main entrance, going to the opera was a great social occasion in the 19th century. A vast, sweeping staircase was an important element of the house as it allowed ladies to show off their new gowns. The mail hall is decorated with a bronze chandelier weighing 3050 kg and it illuminates a fresco by Károly Lotz, depicting the Greek gods on Olympus. The central stage proscenium arch employed the most modern technology of the time and it featured a revolving stage and metal hydraulic machinery

3.
Singspiel
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A Singspiel is a form of German-language music drama, now regarded as a genre of opera. It is characterized by spoken dialogue, which is alternated with ensembles, songs, ballads, Singspiel plots are generally comic or romantic in nature, and frequently include elements of magic, fantastical creatures, and comically exaggerated characterizations of good and evil. Some of the first Singspiele were miracle plays in Germany, where dialogue was interspersed with singing, in the 18th century, some Singspiele were translations of English ballad operas. In 1736, the Prussian ambassador to England commissioned a translation of the ballad opera The Devil to Pay and this was successfully performed in the 1740s in Hamburg and Leipzig. French operas with dialogue were frequently transcribed into the German and became very successful in Vienna in the late 1770s. By contrast, German translations of contemporary Italian opere buffe, which were successful in England. Mozart wrote several Singspiele, Zaide, Die Entführung aus dem Serail, Der Schauspieldirektor, in 1927, Kurt Weill created a new word, Songspiel, to describe his work Mahagonny-Songspiel. Notes Sources Barbara Russano Hanning, Donald Jay Grout, Concise History of Western Music, grove Dictionary of Music and Musicians, Singspiel. Media related to Singspiele at Wikimedia Commons

4.
Libretto
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A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata. Libretto, from Italian, is the diminutive of the word libro, sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. The relationship of the librettist to the composer in the creation of a work has varied over the centuries, as have the sources. In the context of a modern English language musical theatre piece, Libretti for operas, oratorios and cantatas in the 17th and 18th centuries generally were written by someone other than the composer, often a well-known poet. Metastasio was one of the most highly regarded librettists in Europe and his libretti were set many times by many different composers. Another noted 18th-century librettist was Lorenzo Da Ponte, who wrote the libretti for three of Mozarts greatest operas, as well as for other composers. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Auber, Bellini, Donizetti, Rossini and Verdi. The French writers duo Henri Meilhac and Ludovic Halévy wrote a number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli, the libretto is not always written before the music. Some composers wrote their own libretti, Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, too, wrote the libretti for two of his works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchners play Woyzeck for the libretto of Wozzeck, sometimes the libretto is written in close collaboration with the composer, this can involve adaptation, as was the case with Rimsky-Korsakov and his librettist Belsky, or an entirely original work. In the case of musicals, the music, the lyrics, thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the book. In rare cases, the composer writes everything except the dance arrangements - music, lyrics and libretto, Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. A famous case of the latter is Wagners 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris, since the late 19th century some opera composers have written music to prose or free verse libretti. The libretto of a musical, on the hand, is almost always written in prose

5.
Buxton Festival
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The Buxton Festival is an annual summer festival of opera, music, and a literary series, held in Buxton, Derbyshire, in England since its beginnings in July 1979. Much respected conductor Anthony Hose and Malcolm Fraser saw its potential as a venue for an opera festival, with David Rigby, who provided the business input, they spent three years planning the first Festival while restoration was underway. The restored Buxton Opera House became the venue for the first Buxton Festival in 1979 with presentations of Lucia di Lammermoor, the current resident orchestra at the festival is the Northern Chamber Orchestra. The festival continues to present less well-known opera from celebrated composers, alongside a programme of concerts, late-night jazz. 2014s operas included Antonín Dvořáks The Jacobin, Christoph Willibald Glucks Orfeo ed Euridice, the Festival presented its first Autumn Literary Weekend in 2014. The Buxton Festival Fringe is an open arts festival running at approximately the same time as the Buxton Festival. This years Fringe dates are July 6 to 242016, the festival hosts comedy, theatre, dance, music, street performances, film, performance art, talks and shows for children as well as other impromptu events. The festival celebrated its 36th anniversary in 2015 with 174 entries adding up to nearly 600 individual performances and this makes it one of the largest fully independent Fringes in the United Kingdom, along with Brighton Festival Fringe and Edinburgh Fringe. As well using around fifty venues around the town and outside it, a new managed venue, The Market Place, ran for a year in 2014. On September 26th.969 an all night Blues Festival was held in the Pavilion Gardens Buxton, fleetwood Mac and many other top bands performed. The town was shocked by the smell of wet Caftan coats, during July 2007, it was the subject of several features on Jeff Coopers Cooper Collection show on 106.6 Smooth Radio, whose transmission area includes much of Derbyshire. List of opera festivals Buxton Opera House Arts Derbyshire - Buxton Festival Fringe Buxton Festival website Buxton Fringe official website

6.
Hussar
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A Hussar was a member of any one of several types of light cavalry used during the 18th and 19th centuries, beginning in Central Europe. Historically, the term derives from the cavalry of late medieval Hungary, the title and distinctive dress of these horsemen were subsequently widely adopted by light cavalry regiments in European and European colonial armies in the late 17th and 18th centuries. A number of armored or ceremonial mounted units in modern armies retain the designation of hussars, the first written mention of the word Hussarones has been found in documents dating from 1432 in Southern Hungary. A type of light horsemen was already well-established by the 15th century in medieval Hungary. Etymologists are divided over the derivation of the word hussar, byzantinist scholars argue that the term originated in Roman military practice, and the cursarii. 10th-century Byzantine military manuals mention chonsarioi, light cavalry, recruited in the Balkans, especially Serbs and this word was subsequently reintroduced to Western European military practice after its original usage had been lost with the collapse of Rome in the west. According to Websters Dictionary, the word stems from the Hungarian huszár. On the other hand, husz means twenty in Hungarian whilst ar is a unit of measurement or acre. Hussars are so named as they were a form of military levy whereby any land owner with twenty acres was duty bound to provide a mounted and equipped soldier to the army at their own expense. The elaborate uniforms were based on traditional Magyar horsemans clothes with highly braided, tight riding breeches, close fitting pointed boots, the hussars reportedly originated in bands of mostly Serbian warriors, crossing into southern Hungary after the Ottoman conquest of Serbia at the end of the 14th century. Regent-Governor John Hunyadi created mounted units inspired by the Ottomans and his son, Matthias Corvinus, later king of Hungary, is unanimously accepted as the creator of these troops, commonly called Rac. Initially, they fought in bands, but were reorganised into larger. The first hussar regiments comprised the cavalry of the Black Army of Hungary. Under Corvinus command, the took part in the war against the Ottoman Empire in 1485 and proved successful against the sipahis as well as against the Bohemians. After the kings death, in 1490, hussars became the form of cavalry in Hungary in addition to the heavy cavalry. The Habsburg emperors hired Hungarian hussars as mercenaries to serve against the Ottomans, early hussars wore armor when they could afford to it like the later Polish hussars. Hungarian hussars abandoned using shields and later armors and became entirely light cavalry in the first half of the 17th century, initially the first units of Polish hussars in the Kingdom of Poland were formed in 1500, influenced by Serbian mercenaries. A small number of Serbian mercenaries were recruited and became citizens of the Polish–Lithuanian Commonwealth, the Polish heavy hussars of the Polish-Lithuanian Commonwealth were far more manoeuvrable than the heavily armoured lancers previously employed

7.
Austrian monarchy
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The Monarchy was a composite state composed of territories within and outside the Holy Roman Empire, united only in the person of the monarch. The dynastic capital was Vienna, except from 1583 to 1611, from 1804 to 1867 the Habsburg Monarchy was formally unified as the Austrian Empire, and from 1867 to 1918 as the Austro-Hungarian Empire. The two entities were never coterminous, as the Habsburg Monarchy covered many lands beyond the Holy Roman Empire, the monarchy had no official name. The entity had no official name, Austrian Empire, This was the official name. Note that the German version is Kaisertum Österreich, i. e. the English translation empire refers to a territory ruled by an emperor, Austria-Hungary, This was the official name. An unofficial popular name was the Danubian Monarchy also often used was the term Doppel-Monarchie meaning two states under one crowned ruler, Crownlands or crown lands, This is the name of all the individual parts of the Austrian Empire, and then of Austria-Hungary from 1867 on. The Hungarian parts of the Empire were called Lands of the Holy Hungarian Crown of Saint Stephen or Lands of Holy Stephens Crown, the Bohemian Lands were called Lands of the St. Wenceslaus Crown. Burgenland came to Austria in 1921 from Hungary, Salzburg finally became Austrian in 1816 after the Napoleonic wars. Vienna, Austrias capital became a state January 1,1922, after being residence, Upper and Lower Austria, historically, were split into Austria above the Enns and Austria below the Enns. Upper Austria was enlarged after the Treaty of Teschen following the War of the Bavarian Succession by the so-called Innviertel, formerly part of Bavaria. Hereditary Lands or German Hereditary Lands or Austrian Hereditary Lands, In a narrower sense these were the original Habsburg Austrian territories, i. e. basically the Austrian lands, in a wider sense the Lands of the Bohemian Crown were also included in the Hereditary lands. The term was replaced by the term Crownlands in the 1849 March Constitution, within the Habsburg Monarchy, each province was governed according to its own particular customs. Until the mid 17th century, not all of the provinces were even necessarily ruled by the same members of the family often ruled portions of the Hereditary Lands as private apanages. An even greater attempt at centralization began in 1849 following the suppression of the revolutions of 1848. For the first time, ministers tried to transform the monarchy into a bureaucratic state ruled from Vienna. The Kingdom of Hungary, in particular, ceased to exist as a separate entity, in this system, the Kingdom of Hungary was given sovereignty and a parliament, with only a personal union and a joint foreign and military policy connecting it to the other Habsburg lands. When Bosnia and Herzegovina was annexed, it was not incorporated into either half of the monarchy, instead, it was governed by the joint Ministry of Finance. Austria-Hungary collapsed under the weight of the various unsolved ethnic problems that came to a head with its defeat in World War I, to these were added in 1779 the Inn Quarter of Bavaria, and in 1803 the Bishoprics of Trent and Brixen

8.
Army
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An army or ground force is a fighting force that fights primarily on land. In the broadest sense, it is the military branch. It may also include other branches of the such as the air force via means of aviation corps. Within a national force, the word army may also mean a field army. They differ from army reserves who are activated only during such times as war or natural disasters, in several countries, the army is officially called the Land Army to differentiate it from an air force called the Air Army, notably France. In such countries, the army on its own retains its connotation of a land force in common usage. By convention, irregular military is understood in contrast to regular armies which grew slowly from personal bodyguards or elite militia, regular in this case refers to standardized doctrines, uniforms, organizations, etc. Regular military can also refer to full-time status, versus reserve or part-time personnel, other distinctions may separate statutory forces, from de facto non-statutory forces such as some guerrilla and revolutionary armies. Armies may also be expeditionary or fencible, india has had some of the earliest armies in the world. During the Indus Valley Civilization however, there was just a small force as they didnt fear invasion at the time. After the Aryan invasion, kingdoms and city-states started forming armies to protect their cities, one of the first known recorded battles, the Battle of the Ten Kings, happened when a Hindu king defeated an alliance of ten kings. During the Iron Age, the Maurya and Nanda Empires had large armies, in the Gupta age, large armies of longbowmen were recruited to fight off invading horse archer armies. Elephants, pikemen and cavalry were other featured troops, in Rajput times, the main piece of equipment was iron or chain-mail armour, a round shield, either a curved blade or a straight-sword, a chakra disc and a katar dagger. China has existed as a culture for thousands of years, the states of China raised armies for at least 1000 years before the Spring and Autumn Annals. By the Warring States period, the crossbow had been perfected enough to become a military secret, thus any political power of a state rested on the armies and their organization. China underwent political consolidation of the states of Han, Wei, Chu, Yan, Zhao and Qi, until by 221 BCE, Qin Shi Huang, sun Tzus The Art of War remains one of Chinas Seven Military Classics, even though it is two thousand years old. Since no political figure could exist without an army, measures were taken to only the most capable leaders could control the armies. Civil bureaucracies arose to control the power of the states

9.
Alazon
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Alazṓn is one of three stock characters in comedy of the theatre of ancient Greece. He is the opponent of the eirôn, the alazṓn is an impostor that sees himself as greater than he actually is. The senex iratus and the miles gloriosus are two types of alazṓn, Miles Gloriosus is a stock character of a boastful soldier from the comic theatre of ancient Rome, and variations on this character have appeared in drama and fiction ever since. The character derives from the alazṓn or braggart of the Greek Old Comedy, the term Miles Gloriosus is occasionally applied in a contemporary context to refer to a posturing and self-deceiving boaster or bully. In the play Miles Gloriosus by Plautus, the term applies to the main character Pyrgopolynices and this foolish Miles Gloriosus brags openly and often about his supposed greatness, while the rest of the characters feign their admiration and secretly plot against him. Heavily borrowing from Plautus, the Stephen Sondheim-Burt Shevelove-Larry Gelbart musical A Funny Thing Happened on the Way to the Forum features a warrior named Miles Gloriosus. Shakespeare uses the type most notably with the bombastic and self-glorifying ensign Ancient Pistol in Henry IV, Part 2, The Merry Wives of Windsor, baron Munchausen is a braggart soldier. In Commedia dellarte, the figure of Il Capitano is a miles gloriosus, in music, the title role of Háry János by Kodály is an example of the character. In PC game The Elder Scrolls III, Morrowind, there is a character named Miles Gloriosus. His usual function is to impede the love of the hero and heroine, in the New Comedy, he was often the father of the hero and so his rival. Pantalone in Commedia dellarte acts as a senex iratus, in his Anatomy of Criticism, Northrop Frye considered all blocking humors in comedy to be variations on the basic function of the senex iratus. Boasting Bômolochus Eirôn Exaggeration Carlson, Marvin, theories of the Theatre, A Historical and Critical Survey from the Greeks to the Present. Ithaca and London, Cornell University Press, Poetics with Tractatus Coislinianus, Reconstruction of Poetics II and the Fragments of the On Poets

10.
Marie Louise, Duchess of Parma
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Marie Louise was an Austrian archduchess who reigned as Duchess of Parma from 1814 until her death. She was Napoleons second wife and, as such, Empress of the French from 1810 to 1814, a series of military defeats at the hands of Napoleon Bonaparte had inflicted a heavy human toll on Austria and led Francis to dissolve the Holy Roman Empire. The end of the War of the Fifth Coalition resulted in the marriage of Napoleon and Marie Louise in 1810, Marie Louise dutifully agreed to the marriage despite being raised to despise France. She was an obedient wife and was adored by Napoleon, who had been eager to marry a member of one of Europes leading royal houses to cement his relatively young Empire. With Napoleon, she bore a son, styled the King of Rome at birth, later Duke of Reichstadt, Napoleons fortunes changed dramatically in 1812 after his failed invasion of Russia. The European powers, including Austria, resumed hostilities towards France in the War of the Sixth Coalition, the 1814 Treaty of Fontainebleau handed over the Duchies of Parma, Piacenza and Guastalla to Empress Marie Louise. She ruled the duchies until her death, Marie Louise married morganatically twice after Napoleons death in 1821. Her second husband was Count Adam Albert von Neipperg, an equerry she met in 1814 and she and Neipperg had three children. After Neippergs death, she married Count Charles-René de Bombelles, her chamberlain, in 1834, Marie Louise died in Parma in 1847. Archduchess Marie Louise of Austria was born at the Hofburg Palace in Vienna on 12 December 1791 to Archduke Francis of Austria and his wife, Maria Theresa of Naples. Her father became Holy Roman Emperor a year later as Francis II, Marie Louise was a great granddaughter of Empress Maria Theresa through both her parents, as they were first cousins. She was also a granddaughter of Queen Maria Carolina of Naples. Marie Louises formative years were during a period of conflict between France and her family and she was brought up to detest France and French ideas. Marie Louise was influenced by her grandmother Maria Carolina, who despised the French Revolution which ultimately caused the death of her sister, Maria Carolinas Kingdom of Naples had also come into direct conflict with French forces led by Napoleon Bonaparte. The War of the Third Coalition brought Austria to the brink of ruin, the Imperial family was forced to flee Vienna in 1805. Marie Louise took refuge in Hungary and later Galicia before returning to Vienna in 1806 and her father relinquished the title of Holy Roman Emperor but remained Emperor of Austria. To make her more marriageable, her parents had her tutored in many languages, in addition to her native German, she became fluent in English, French, Italian, Latin, and Spanish. In 1807, when Marie Louise was 15, her mother died after suffering a miscarriage, less than a year later, Emperor Francis married his first cousin Maria Ludovika Beatrix of Austria-Este, who was four years older than Marie Louise

11.
Napoleon
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Napoleon Bonaparte was a French military and political leader who rose to prominence during the French Revolution and led several successful campaigns during the French Revolutionary Wars. As Napoleon I, he was Emperor of the French from 1804 until 1814, Napoleon dominated European and global affairs for more than a decade while leading France against a series of coalitions in the Napoleonic Wars. He won most of these wars and the vast majority of his battles, one of the greatest commanders in history, his wars and campaigns are studied at military schools worldwide. Napoleons political and cultural legacy has ensured his status as one of the most celebrated and he was born Napoleone di Buonaparte in Corsica to a relatively modest family from the minor nobility. When the Revolution broke out in 1789, Napoleon was serving as an officer in the French army. Seizing the new opportunities presented by the Revolution, he rose through the ranks of the military. The Directory eventually gave him command of the Army of Italy after he suppressed a revolt against the government from royalist insurgents, in 1798, he led a military expedition to Egypt that served as a springboard to political power. He engineered a coup in November 1799 and became First Consul of the Republic and his ambition and public approval inspired him to go further, and in 1804 he became the first Emperor of the French. Intractable differences with the British meant that the French were facing a Third Coalition by 1805, in 1806, the Fourth Coalition took up arms against him because Prussia became worried about growing French influence on the continent. Napoleon quickly defeated Prussia at the battles of Jena and Auerstedt, then marched the Grand Army deep into Eastern Europe, France then forced the defeated nations of the Fourth Coalition to sign the Treaties of Tilsit in July 1807, bringing an uneasy peace to the continent. Tilsit signified the high watermark of the French Empire, hoping to extend the Continental System and choke off British trade with the European mainland, Napoleon invaded Iberia and declared his brother Joseph the King of Spain in 1808. The Spanish and the Portuguese revolted with British support, the Peninsular War lasted six years, featured extensive guerrilla warfare, and ended in victory for the Allies. The Continental System caused recurring diplomatic conflicts between France and its client states, especially Russia, unwilling to bear the economic consequences of reduced trade, the Russians routinely violated the Continental System and enticed Napoleon into another war. The French launched an invasion of Russia in the summer of 1812. The resulting campaign witnessed the collapse of the Grand Army, the destruction of Russian cities, in 1813, Prussia and Austria joined Russian forces in a Sixth Coalition against France. A lengthy military campaign culminated in a large Allied army defeating Napoleon at the Battle of Leipzig in October 1813, the Allies then invaded France and captured Paris in the spring of 1814, forcing Napoleon to abdicate in April. He was exiled to the island of Elba near Rome and the Bourbons were restored to power, however, Napoleon escaped from Elba in February 1815 and took control of France once again. The Allies responded by forming a Seventh Coalition, which defeated Napoleon at the Battle of Waterloo in June, the British exiled him to the remote island of Saint Helena in the South Atlantic, where he died six years later at the age of 51

12.
Baritone
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A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. It is the most common male voice, the baritone voice type is generally divided into the baryton-Martin baritone, lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone. The first use of the term baritone emerged as baritonans, late in the 15th century, at this early stage it was frequently used as the lowest of the voices, but in 17th-century Italy the term was all-encompassing and used to describe the average male choral voice. Baritones took roughly the range as it is today at the beginning of the 18th century. Indeed, many works of the 18th century have roles marked as bass that in reality are low baritone roles. Examples of this are to be found, for instance, in the operas, the greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute and these included the likes of Filippo Galli, Giovanni Inchindi, and Henri-Bernard Dabadie. The basse-taille and the bass were commonly confused because their roles were sometimes sung by singers of either actual voice part. The bel canto style of vocalism which arose in Italy in the early 19th century supplanted the castrato-dominated opera seria of the previous century and it led to the baritone being viewed as a separate voice category from the bass. More often than not, however, baritones found themselves portraying villains, the principal composers of bel canto opera are considered to be, Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giacomo Meyerbeer, and the young Giuseppe Verdi. Figaro in Il barbiere is often called the first true baritone role, however, Donizetti and Verdi in their vocal writing went on to emphasize the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound. The major international baritone of the first half of the 19th century was the Italian Antonio Tamburini and he was a famous Don Giovanni in Mozarts eponymous opera as well as being a Bellini and Donizetti specialist. Commentators praised his voice for its beauty, flexibility and smooth tonal emission, Tamburinis range, however, was probably closer to that of a bass-baritone than to that of a modern Verdi baritone. His French equivalent was Henri-Bernard Dabadie, who was a mainstay of the Paris Opera between 1819 and 1836 and the creator of several major Rossinian baritone roles, including Guillaume Tell. Dabadie sang in Italy, too, where he originated the role of Belcore in Lelisir damore in 1832, the most important of Tamburinis Italianate successors were all Verdians. In France, Paul Barroilhet succeeded Dabadie as the Paris operas best known baritone, like Dabadie, he also sang in Italy and created an important Donizetti role, in his case, Alphonse in La favorite. Antonio Pini-Corsi was the standout Italian buffo baritone in the period between about 1880 and World War I, reveling in comic roles by Rossini, Donizetti and Paer. In 1893, he created the part of Ford in Verdis last opera, notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle, Victor Maurel, Paul Lhérie, and Maurice Renaud

13.
Mezzo-soprano
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A mezzo-soprano or mezzo is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-sopranos vocal range extends from the A below middle C to the A two octaves above. In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C, the mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic mezzo-soprano. Mezzo-sopranos are well represented in music, early music. Some roles designated for lighter soubrette sopranos are sung by mezzo-sopranos, such roles include Despina in Mozarts Così fan tutte and Zerlina in his Don Giovanni. Mezzos sometimes play dramatic soprano roles such as Santuzza in Mascagnis Cavalleria rusticana, Lady Macbeth in Verdis Macbeth, the vocal range of the mezzo-sopranos lies between the soprano and the contralto voice types. Mezzo-sopranos generally have a heavier, darker tone than sopranos, the mezzo-soprano voice resonates in a higher range than that of a contralto. The terms Dugazon and Galli-Marié are sometimes used to refer to light mezzo-sopranos, usually men singing within the female range are called countertenors since there is a lighter more breathy tonal quality difference. Within the mezzo-soprano voice type category are three generally recognized subcategories, coloratura mezzo-soprano, lyric mezzo-soprano, and dramatic mezzo-soprano, a coloratura mezzo-soprano has a warm lower register and an agile high register. The roles they sing often demand not only the use of the register but also leaps into the upper tessitura with highly ornamented. They have a range from approximately the G below middle C to the B two octaves above middle C, some coloratura mezzo-sopranos can sing up to high C or high D, but this is very rare. What distinguishes these voices from being called sopranos is their extension into the register and warmer vocal quality. Although coloratura mezzo-sopranos have impressive and at times thrilling high notes, they are most comfortable singing in the middle of their range, many of the hero roles in the operas of Handel and Monteverdi, originally sung by male castrati, can be successfully sung today by coloratura mezzo-sopranos. Rossini demanded similar qualities for his heroines, and Vivaldi wrote roles frequently for this voice as well. Coloratura mezzo-sopranos also often sing lyric-mezzo-soprano roles or soubrette roles, coloratura mezzo-soprano roles in operas, The lyric mezzo-soprano has a range from approximately the G below middle C to the A two octaves above middle C. This voice has a smooth, sensitive and at times lachrymose quality. Lyric mezzo-sopranos do not have the agility of the coloratura mezzo-soprano or the size of the dramatic mezzo-soprano. The lyric mezzo-soprano is ideal for most trouser roles and this voice has less vocal facility than the coloratura mezzo-soprano

14.
Soprano
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A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The sopranos vocal range is from approximately middle C =261 Hz to high A =880 Hz in choral music, in four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. The soprano voice type is divided into the coloratura, soubrette, lyric, spinto. The lyric soprano is the most common female singing voice, the word soprano comes from the Italian word sopra, as the soprano is the highest pitch human voice, often given to the leading female roles in operas. The term soprano is also based on the Latin word superius which, like soprano, the word superius was especially used in choral and other multi-part vocal music between the 13th and 16th centuries. The soprano has the highest vocal range of all voice types, a soprano and a mezzo-soprano have a similar range, but their tessituras will lie in different parts of that range. The low extreme for sopranos is roughly A3 or B♭3, within opera, the lowest demanded note for sopranos is F3. Often low notes in higher voices will project less, lack timbre, however, rarely is a soprano simply unable to sing a low note in a song within a soprano role. The high extreme, at a minimum, for non-coloratura sopranos is soprano C, a couple of roles have optional E♭6s, as well. In the coloratura repertoire several roles call for E♭6 on up to F6, in rare cases, some coloratura roles go as high as G6 or G♯6, such as Mozarts concert aria Popoli di Tessaglia. Or the title role of Jules Massenets opera Esclarmonde, while not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control. In opera, the tessitura, vocal weight, and timbre of voices, a singers tessitura is where the voice has the best timbre, easy volume, and most comfort. Within the soprano voice type category are five generally recognized subcategories, coloratura soprano, soubrette, lyric soprano, spinto soprano, the coloratura soprano may be a lyric coloratura or a dramatic coloratura. The lyric coloratura soprano is a very agile light voice with a high upper extension capable of fast vocal coloratura, Light coloraturas have a range of approximately middle C to high F with some coloratura sopranos being able to sing somewhat higher or lower. Dramatic coloraturas have a range of approximately low B to high F with some coloratura sopranos being able to sing higher or lower. In classical music and opera, a soubrette soprano refers to both a type and a particular type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, the soubrette voice is not a weak voice, for it must carry over an orchestra without a microphone like all voices in opera. The voice, however, has a lighter weight than other soprano voices with a brighter timbre

15.
Tenor
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Tenor is a type of classical male singing voice whose vocal range is one of the highest of the male voice types. The tenors vocal range lies between C3, the C one octave below middle C, and A4, the A above middle C, in solo work, this range extends up to C5, or tenor high C. The low extreme for tenors is roughly A♭2, at the highest extreme, some tenors can sing up to two Fs above middle C. The tenor voice type is divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor. The name tenor derives from the Latin word tenere, which means to hold, in medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, until the late 16th century introduction of the contratenor singers, the tenor was usually the highest voice, assuming the role of providing a foundation. It was also in the 18th century that tenor came to signify the male voice that sang such parts, thus, for earlier repertoire, a line marked tenor indicated the parts role, and not the required voice type. Indeed, even as late as the century, partbooks labelled tenor might contain parts for a range of voice types. The vocal range of the tenor is one of the highest of the voice types. Within opera, the lowest note in the tenor repertoire is probably A♭2 in Rossinis rarely performed La donna del lago in the role of Rodrigo di Dhu. Within more frequently performed repertoire, Mime and Herod both call for an A2, a few tenor roles in the standard repertoire call for a tenor C. Some of the few top Cs in the operatic repertoire are either optional or interpolated by tradition. However, the highest demanded note in the standard operatic repertoire is D5. Some operatic roles for tenors require a darker timbre and fewer high notes, in the leggero repertoire, the highest note is F5, therefore, very few tenors can, given the raising of concert pitch since its composition, have this role in their repertoire without transposition. Within the tenor voice type category are seven generally recognized subcategories, leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, Also known as the tenore di grazia, the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura, the typical leggero tenor possesses a range spanning from approximately C3 to E♭5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3, voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period. Leggero tenor roles in operas, The lyric tenor is a warm voice with a bright, full timbre that is strong but not heavy

16.
Galicia (Eastern Europe)
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Galicia is a historical and geographic region in Central-Eastern Europe, once a small Kingdom of Galicia and Lodomeria that straddled the modern-day border between Poland and Ukraine. The area, which is named after the city of Halych, was first mentioned in Hungarian historical chronicles in the year 1206 as Galiciæ. The nucleus of historic Galicia lies within the regions of western Ukraine, Lviv, Ternopil. In the 18th century, territories that became part of the modern Polish regions of Lesser Poland Voivodeship, Subcarpathian Voivodeship. There is considerable overlap between Galicia and south-west Ruthenia, especially a cross-border region that is inhabited by various nationalities, Halych-Volhynia cut a swathe as a mighty principality under the reign of Roman the Great in 1170–1205. After the expulsion of the Hungarians in 1221, Ruthenians took back rule of the area, Romans son Daniel of Galicia was crowned king of Halych-Volhynia. He founded Lviv, named in honour of his son Leo I, the Ukrainian name Halych comes from the Khwalis or Kaliz who occupied the area from the time of the Magyars. They were also called Khalisioi in Greek, and Khvalis in Ukrainian, the Lypytsia culture supposedly replaced the existing Thracian Hallstatt and Vysotske cultures. Others assert that the name has Slavic origins – from halytsa, meaning a naked hill, the jackdaw was used as a charge in the citys coat of arms and later also in the coat of arms of Galicia. The name, however, predates the coat of arms, which may represent canting or simply folk etymology, although the Hungarians were driven out from Halych-Volhynia by 1221, Hungarian kings continued to add Galicia et Lodomeria to their official titles. In 1527, the Habsburgs inherited those titles, together with the Hungarian crown, in 1772, Empress Maria Theresa, Archduchess of Austria and Queen of Hungary, decided to use those historical claims to justify her participation in the first partition of Poland. In fact, the territories acquired by Austria did not correspond exactly to those of former Halych-Volhynia, Volhynia, including the city of Volodymyr-Volynskyi – after which Lodomeria was named – was taken by Russia, not Austria. On the other hand, much of Lesser Poland – Nowy Sącz and Przemyśl, Zamość, Lublin, the full official name of the new Austrian province was Kingdom of Galicia and Lodomeria with the Duchies of Auschwitz and Zator. After the incorporation of the Free City of Kraków in 1846, it was extended to Kingdom of Galicia and Lodomeria, each of those entities was formally separate, they were listed as such in the Austrian emperors titles, each had its distinct coat-of-arms and flag. For administrative purposes, however, they formed a single province, the duchies of Auschwitz and Zator were small historical principalities west of Kraków, on the border with Prussian Silesia. Lodomeria, under the name Volhynia, was not ruled by Austria, dale Dwellers, Krakowiacy, Mazury, Grębowiacy, Głuchoniemcy, Bełżanie, Bużanie, Opolanie, Wołyniacy, Pobereżcy or Nistrowianie. During the Great Migration period of Europe, a variety of nomadic groups invaded the area, overall, Slavs came to dominate the Celtic-German population. In the 12th century, a Rurikid Principality of Halych formed there, Galicia and Volhynia had originally been two separate Rurikid principalities, assigned on a rotating basis to younger members of the Kievan dynasty

17.
Cimbalom
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The cimbalom is a concert hammered dulcimer, a type of chordophone composed of a large, trapezoidal box with metal strings stretched across its top. It is also popular in Greece, the cimbalom is played by striking two beaters against the strings. The steel treble strings are arranged in groups of 4 and are tuned in unison, the bass strings which are over-spun with copper, are arranged in groups of 3 and are also tuned in unison. The Hornbostel-Sachs musical instrument classification system registers the cimbalom with the number 314. 122-4,5, moreover, the instrument name “cimbalom” also denotes earlier, smaller versions of the cimbalom, and folk cimbaloms, of different tone groupings, string arrangements, and box types. In English, the spelling is the most common, followed by the variants, derived from Austria-Hungary’s languages, cimbál, cymbalom, cymbalum, țambal, tsymbaly. The first representation of a simple struck chordophone which we categorize as a hammered dulcimer can be found in the Assyrian bas-relief in Kyindjuk dated back to 3500 BC, the peoples of the Mediterranean all had versions of this instrument under different names, as did many peoples in Asia. The fourth edition of the first textbook for the concert cimbalom by Géza Allaga, use of the instrument spread by the end of the 19th century and took the place of the cobza in Romanian and Moldovan folk ensembles. In Wallachia it is used almost as a percussion instrument, in Transylvania and Banat, the style of playing is more tonal, heavy with arpeggios. Folk hammered dulcimers are usually referred to by their regional names and these instruments can differ from each other in size, tuning, number of strings and method of holding and moving the hammers or beaters. They are smaller and more portable than the concert cimbalom, in performance they were often carried by a single musician, typically using a strap around the players neck and leaning one edge of the instrument against the waist. Like the concert cimbalom, the folk hammered dulcimer / small cimbalom is played by striking the strings with two beaters, however, these are generally much shorter than the beaters used with the concert cimbalom, and often without soft coverings over the area which strikes the string. These instruments also lacked damper mechanisms, therefore, the hand, fingers, tunings are often partially chromatic or even diatonic rather than the fully chromatic tuning of the concert cimbalom, and they can vary regionally. Construction of these instruments is closely related to the particular style of music played on them than is the case with the concert cimbalom. The Schunda cimbalom was equipped with a frame for more stability. It included many more string courses for extended range and incorporated a damper pedal which allowed for more dynamic control, Four detachable legs were added to support this much larger instrument. The concert cimbalom continues to be played primarily with beaters although other playing techniques are used, concert instruments from Schunda onward are fully chromatic. The Schunda tuning system established a standard range of four octaves plus a major 3rd. The concert cimbalom eventually found its way to areas of the Austro-Hungarian empire, such as Romania and Ukraine

18.
Hammered dulcimer
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The hammered dulcimer is a percussion instrument and stringed instrument with the strings typically stretched over a trapezoidal sounding board. The hammered dulcimer is set before the musician, who may sit cross legged on the floor or on a stool at a stand on legs. The player holds a small spoon shaped mallet hammer in hand to strike the strings. The Graeco-Roman dulcimer derives from the Latin dulcis and the Greek melos, the dulcimer, in which the strings are beaten with small hammers, originated from the psaltery, in which the strings are plucked. Various types of hammered dulcimers are traditionally played in Iraq, India, Iran, Southwest Asia, China, and parts of Southeast Asia, Central Europe, the Balkans, Eastern Europe and Scandinavia. The instrument is played in the United Kingdom and the U. S. where its traditional use in folk music saw a notable revival in the late 20th century. A dulcimer usually has two bridges, a bridge near the right and a treble bridge on the left side. The bass bridge holds up bass strings, which are played to the left of the bridge, the treble strings can be played on either side of the treble bridge. In the usual construction, playing them on the side gives a note a fifth higher than playing them on the right of the bridge. The dulcimer comes in sizes, identified by the number of strings that cross each of the bridges. A 15/14, for example, has 15 strings crossing the bridge and 14 crossing the bass bridge. The strings of a hammered dulcimer are usually found in pairs, each set of strings is tuned in unison and is called a course. A hammered dulcimer, like an autoharp, harp, or piano, requires a tuning wrench for tuning, the strings of the hammered dulcimer are often tuned according to a circle of fifths pattern. Typically, the lowest note is struck at the lower right-hand of the instrument, as a player strikes the courses above in sequence, they ascend following a repeating sequence of two whole steps and a half step. With this tuning, a scale is broken into two tetrachords, or groups of four notes. For example, on an instrument with D as the lowest note and this is the lower tetrachord of the D major scale. At this point the player returns to the bottom of the instrument and shifts to the strings to the right of the treble bridge to play the higher tetrachord. See the drawing on the left above, in which DO would correspond to D, the shift from the bass bridge to the treble bridge is required because the bass bridges fourth string G is the start of the lower tetrachord of the G scale

19.
Liceu
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The Gran Teatre del Liceu, or simply Liceu in Catalan and Liceo in Spanish, is an opera house on La Rambla in Barcelona, Catalonia, Spain. The Liceu opened on 4 April 1847, in 1837, the Liceo Filodramático de Montesión was founded in Barcelona to promote musical education and organize scenic representations of opera performed by Liceo students. A theater was built in the convent building — named Teatro de Montesión or Teatro del Liceo de Montesión — and plays and operas performed, the repertoire was Italian, the most performed composers being Donizetti and Mercadante as well as Bellini and Rossini. The Barcelona premiere of Hérolds Zampa was held here, in 1838 the society changed its name to Liceo Dramático Filarmónico de S. M. la Reina Isabel II. Lack of space, as well as brought to bear by a group of nuns. The last theatre performance was on 8 September, the Trinitarian convent building located in the centre of the town at la Rambla was purchased. The managers of the Liceu entrusted Joaquim de Gispert dAnglí with a project to make the construction of the new building viable, two different societies were created, a building society and an auxiliary building society. Shareholders of the society obtained the right of use in perpetuity of some theatre boxes. Those of the society contributed the rest of the money necessary in exchange for property of other spaces in the building including some shops. This is reflected in the architecture, for example, there is no royal box. The queen did not contribute to the construction, and the name of the society was changed to Liceo Filarmónico Dramático, miquel Garriga i Roca was the architect contracted, construction began on 11 April 1845. The Theatre was inaugurated on 4 April 1847, the first complete opera, Donizettis Anna Bolena on 17 April. At this point Liceu was the biggest opera house in Europe with 3,500 seats. Other operas performed in the Liceu during the first year were, I due Foscari, Il bravo, Parisina dEste, Giovanna dArco, Leonora, Ernani, Norma, Linda di Chamounix and Il barbiere di Siviglia. The building was damaged by fire on 9 April 1861. From the old building only the façade, the entrance hall, on 7 November 1893, on the opening night of the season and during the second act of the opera Guillaume Tell by Rossini, two Orsini bombs were thrown into the stalls of the opera house. Only one of the bombs exploded, some twenty people were killed, the attack was the work of the anarchist Santiago Salvador and it deeply shocked Barcelona, becoming a symbol of the turbulent social unrest of the time. The Liceu reopened its doors on 18 January 1894, but the seats occupied by those killed by the bombs were not used for a number of years, the second bomb was put on display in the Van Gogh Museum in 2007 during an exhibit on Barcelona around 1900

20.
Orquestra Pau Casals
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The Orquestra Pau Casals was established by Pablo Casals in the early 1920s in Barcelona, with the debut performance taking place October 13,1920. There had been other orchestras in Barcelona, but none that played with any enduring success, the orchestra was managed by a group of Casals friends including Felip Capdevila and Casals second wife Francesca. Casals hired musicians full-time and invested his savings to balance the accounts, however, after nine years of training, the Orquestra Pau Casals became recognized as one of the finer orchestras in Europe, attracting high quality soloists and guest conductors. Casals conducted the orchestra himself, and promoted it by playing with it exclusively as a soloist in Barcelona, the orchestra recorded Beethovens First and Fourth Symphonies in November 1929

21.
Flute
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. Flutes, including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top

22.
Piccolo
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The piccolo /ˈpɪkəloʊ/ is a half-size flute, and a member of the woodwind family of musical instruments. The modern piccolo has most of the same fingerings as its sibling, the standard transverse flute. This gave rise to the name ottavino, the name by which the instrument is referred to in the scores of Italian composers, piccolos are now manufactured in the key of C or D♭. It was for this D♭ piccolo that John Philip Sousa wrote the solo in the final repeat of the closing section of his march The Stars. In the orchestral setting, the player is often designated as piccolo/flute III. The larger orchestras have designated this position as a position due to the demands of the literature. Piccolos are often orchestrated to double the violins or the flutes, adding sparkle, in concert band settings, the piccolo is almost always used and a piccolo part is almost always available. Historically, the piccolo had no keys, and should not be confused with the fife, the piccolo is used in conjunction with marching drums in traditional formations at the Carnival of Basel, Switzerland. It is a myth that one of the earliest pieces to use the piccolo was Beethovens Symphony No.5 in C Minor, although neither Joseph Haydn nor Mozart used it in their symphonies, some of their contemporaries did, including Hoffmeister, Süssmayr and Michael Haydn. Also, Mozart used the piccolo in his opera Idomeneo, opera orchestras in Paris sometimes included small transverse flutes at the octave as early as 1735 as existing scores by Rameau show. Finely made piccolos are often available with a variety of similar to the flute. Most piccolos have a body with a cylindrical head, which is like the Baroque flute. There are a number of pieces for piccolo alone, by composers as Samuel Adler, Robert Dick, Michael Isaacson, David Loeb, Polly Moller, Vincent Persichetti. Additionally, there is a selection of chamber music that uses the piccolo. One example is the Quintet for Piccolo and String Quartet by Graham Waterhouse, another is Stockhausens Zungenspitzentanz, for piccolo and two euphoniums, with optional percussionist and dancer. Bryn Mawr, Theodore Presser Company,2008, the Symphonic Debutante Piccolo, Was it Really Beethovens Fifth. The Woodwind Fingering Guide, with piccolo fingerings

23.
Oboe
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Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch

24.
Clarinet
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The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. It has a mouthpiece, a straight cylindrical tube with an almost cylindrical bore. A person who plays a clarinet is called a clarinetist, the word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, oboe. It would seem however that its roots are to be found amongst some of the various names for trumpets used around the renaissance. Clarion, clarin and the Italian clarino are all derived from the medieval term claro which referred to a form of trumpet. This is probably the origin of the Italian clarinetto, itself a diminutive of clarino, according to Johann Gottfried Walther, writing in 1732, the reason for the name is that it sounded from far off not unlike a trumpet. The English form clarinet is found as early as 1733, while the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. The trumpet parts that required this speciality were known by the term clarino, Johann Christoph Denner is generally believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the tone and these days the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a lower, is commonly used in orchestral music. Since the middle of the 19th century the clarinet has become an essential addition to the orchestra. The clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet, the clarinet has proved to be an exceptionally flexible instrument, equally at home in the classical repertoire as in concert bands, military bands, marching bands, klezmer, and jazz. The cylindrical bore is primarily responsible for the clarinets distinctive timbre, the tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The most prominent were the German/Viennese traditions and the French school, the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available, the modern clarinetist has a diverse palette of acceptable tone qualities to choose from. The A clarinet and B♭ clarinet have nearly the same bore, orchestral players using the A and B♭ instruments in the same concert could use the same mouthpiece for both. The A and the B♭ instruments have nearly identical tonal quality, the tone of the E♭ clarinet is brighter than that of the lower clarinets and can be heard even through loud orchestral or concert band textures. The bass clarinet has a deep, mellow sound, while the alto clarinet is similar in tone to the bass

25.
E-flat clarinet
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The E-flat clarinet is a member of the clarinet family. It is usually classed as a clarinet, although some authors describe it as a sopranino, petite. Smaller in size and higher in pitch than the more common B♭ clarinet, it is an instrument in E♭. In Italian it sometimes referred to as a quartino and is listed in B♭-based scores as quartino in Fa. The E♭ clarinet is required to play at the top of its range for much of the time to take advantage of its piercing quality, fingerings in that register are more awkward than on the lower part of the instrument, making high, fast passages difficult. Towards the end of the century the clarinet in high F took this role until the E♭ clarinet took over beginning sometime in the second decade of the 1800s. Although the E♭ is somewhat of a rarity in school bands, it is an instrument in college. Unlike the B♭ soprano clarinet which has musicians performing on each part. This is partially because the E♭ clarinet has a bright, shrill sound very similar to the sound of the piccolo and it commonly plays the role of a garnish instrument along with the piccolo, and duo segments between the two instruments are quite common. The E♭ clarinet is often playing along with the flutes and/or oboes. The E♭ clarinet is also a player in modern wind band repertoire, such as Adam Gorbs Yiddish Dances. While most E♭ clarinets are built and marketed for professionals or advanced students and it has a simplified fingering system, lacking some of the trill keys and alternative fingerings. The slightly larger D clarinet is rare, although it was common in the early, from the end of that century to the present it has become less common than the clarinets in E♭, B♭, A, or even C. An overture} by Handel for two clarinets and horn was probably written for two D clarinets, D clarinets were once commonly employed by some composers to be used by one player equipped with instruments in D and E♭ — analogous to a player using instruments in B♭ and A. In modern performance, it is normal to transpose D clarinet parts for E♭ clarinet, for instance, the original version of Arnold Schoenbergs Chamber Symphony no.1 is for E♭ clarinet while the orchestral version is for D. Another famous example is the D clarinet part of Richard Strausss Till Eulenspiegels lustige Streiche, Solo literature for these instruments is sparse. The following are notable, Johann Melchior Molter, Six Clarinet Concerti, Concerti by Jerome Neff and William Neil. Ernesto Cavallini, Carnival of Venice variations, Fantasia on a Theme from Ultimo Giorno Di Pomeii, henri Rabaud, Solo de Concours for E♭ clarinet

26.
Alto saxophone
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The alto saxophone, also referred to as alto sax, is a member of the saxophone family of woodwind instruments invented by Belgian instrument designer Adolphe Sax in the 1840s, and patented in 1846. It is pitched in E♭, and is smaller than the tenor, the alto sax is the most common saxophone and is commonly used in classical music, military bands, marching bands, and jazz. The alto saxophone was also commonplace in music from the 1980s. The saxophone fingerings are all universal, so a player can play any type of saxophone. The range of the saxophone is from concert A♭3 to concert A♭5. As with most types of saxophones, the standard range is B♭3 to F6. Above that, the altissimo register begins at F♯6 and extends upwards, the saxophones altissimo register is more difficult to control than that of other woodwinds and is usually only expected from advanced players. By covering or partially covering the bell of the saxophone when playing B♭3, also of note is Kadri Gopalnath, a pioneer of Carnatic music, plays a modified alto saxophone. Some companies that currently produce saxophones are Buffet Crampon, KHS/Jupiter, Conn-Selmer, Selmer Paris, Yamaha, Leblanc/Vito, Keilwerth, Cannonball, new alto saxophones range in price between €250 for lower quality student models to over €6000 for professional models. The alto saxophone has a classical solo repertoire that includes solos with orchestra, piano. Two of the most well-known solo compositions are Jacques Iberts Concertino da Camera, also, the alto saxophone is part of the standard instrumentation of concert bands and saxophone quartets. The alto saxophone is also used in orchestral compositions. Several orchestral examples are listed below, georges Bizet features it in the Minuet from the second suite of music from LArlésienne. He also includes it in his Suite No.1 and Suite No.2, maurice Ravel uses the saxophone prominently in his orchestration of Modest Moussorgskys Pictures at an Exhibition, most notably as the soloist in Il vecchio castello. Alban Berg uses the saxophone in his orchestral works, most notably Der Wein, Lulu. Sergei Rachmaninoff uses the saxophone in his Symphonic Dances as a soloist in the first movement, george Gershwin includes it in a few pieces, such as Rhapsody in Blue and An American in Paris. Pierre Boulez wrote for 2 alto saxes in his composition Pli selon pli, benjamin Britten calls for an alto in his Sinfonia da Requiem and The Prince of the Pagodas. Leonard Bernstein includes an alto sax in his Symphonic Dances from West Side Story, vincent dIndy enlists two altos in his opera Fervaal

27.
Bassoon
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The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading

28.
French horn
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The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras, a musician who plays any kind of horn is generally referred to as a horn player. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves, the backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound, in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a horn, changing pitch along the natural harmonics of the instrument. Pitch may also be controlled by the position of the hand in the bell, the pitch of any note can easily be raised or lowered by adjusting the hand position in the bell. Three valves control the flow of air in the single horn, the more common double horn has a fourth valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or another tuned to B♭. Triple horns with five valves are made, tuned in F, B♭. Also common are descant doubles, which typically provide B♭ and alto F branches and this configuration provides a high-range horn while avoiding the additional complexity and weight of a triple. A crucial element in playing the horn deals with the mouthpiece, when playing higher notes, the majority of players exert a small degree of additional pressure on the lips using the mouthpiece. It is the goal of all serious brass musicians to develop their technique such that additional mouthpiece pressure is avoided altogether, or at the very least, the name French horn is found only in English, first coming into use in the late 17th century. At that time, French makers were preeminent in the manufacture of hunting horns, as a result, these instruments were often called, even in English, by their French names, trompe de chasse or cor de chasse. The International Horn Society has recommended since 1971 that the instrument be simply called the horn, there is also a more specific use of French horn to describe a particular horn type, differentiated from the German horn and Vienna horn. In this sense, French horn refers to an instrument with three Périnet valves. It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late 18th century, and most often has an ascending third valve. This is a whole-tone valve arranged so that with the valve in the up position the valve loop is engaged, the horn is the third-highest-sounding instrument in the brass family, below the trumpet and the cornet. Horns are mostly tuned in B♭ or F, or a combination of both, in some traditions, novice players use a single horn in F, while others prefer the B♭ horn. The F horn is used more commonly than the B♭ horn, sound is produced by vibrating the players lips into the mouthpiece of the instrument. Different partials in the series can be played by adjusting the air pressure and lip tension

29.
Trumpet
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A trumpet is a musical instrument commonly used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family, trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through almost-closed lips, producing a sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, there are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, most trumpets have valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is more common in orchestral settings, each valve, when engaged, increases the length of tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet player or trumpeter, the earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from Tutankhamuns grave in Egypt, bronze lurs from Scandinavia, trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Shofar, made from a ram horn and the Hatzotzeroth and they were played in Solomons Temple around 3000 years ago. They were said to be used to blow down the walls of Jericho and they are still used on certain religious days. The Salpinx was a straight trumpet 62 inches long, made of bone or bronze, Salpinx contests were a part of the original Olympic Games. The Moche people of ancient Peru depicted trumpets in their art going back to AD300, the earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense, and the modern bugle continues this signaling tradition. Improvements to instrument design and metal making in the late Middle Ages, the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument, the development of the upper, clarino register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era, also known as the Golden Age of the natural trumpet. During this period, a vast body of music was written for virtuoso trumpeters, the art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844, Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. The attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, the symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets

30.
Cornet
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The cornet /ˈkɔːrnɪt/ is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is an instrument in B♭, though there is also a soprano cornet in E♭. Both are unrelated to the renaissance and early baroque cornett, the cornet was initially derived from the post horn around 1820 in France. Among the first manufacturers of modern cornets was Parisian Jean Asté in 1828, cornets first appeared as separate instrumental parts in 19th century French compositions. This instrument could not have developed without the improvement of piston valves by Silesian oboe player Friedrich Blühmel. These two instrument makers almost simultaneously invented valves, though it is likely that Blühmel was the inventor and they jointly applied for a patent and were granted this for a period of ten years. Later, and most importantly, François Périnet received a patent in 1838 for a valve which is the basis of all modern brass instrument piston valves. Up until the early 20th century, the trumpet and cornet coexisted in musical ensembles, symphonic repertoire often involves separate parts for trumpet and cornet. As several instrument builders made improvements to instruments, they started to look and sound more alike. The modern day cornet is used in bands, concert bands. The name cornet derives from corne, meaning horn, itself from Latin cornu, while not musically related, instruments of the Zink family are named cornetto or cornett in modern English to distinguish them from the valved cornet described here. The 11th edition of the Encyclopædia Britannica referred to serpents as old wooden cornets, the Roman/Etruscan cornu is the lingual ancestor of these. It is a predecessor of the post horn from which the evolved and was used like a bugle to signal orders on the battlefield. The instrument was once referred to as a cornopean, referencing the earliest cornets with the Stölzel valve system. The cornet was invented by adding valves to the post horn in 1814, the valves allowed for melodic playing throughout the register of the cornet. Trumpets were slower to adopt the new technology, so for the next 100 years or more. The trumpet would play fanfare-like passages, while the cornet played more melodic passages, the modern trumpet has valves that allow it to play the same notes and fingerings as the cornet. Cornets and trumpets made in a key play at the same pitch

31.
Trombone
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The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section

32.
Tuba
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The tuba is the largest and lowest-pitched musical instrument in the brass family. Like all brass instruments, sound is produced by moving air past the lips and it first appeared in the mid 19th-century, making it one of the newer instruments in the modern orchestra and concert band. The tuba largely replaced the ophicleide, in America a person who plays the tuba is known as a tubaist or tubist. In the United Kingdom a person who plays the tuba in an orchestra is simply as a tuba player. Prussian Patent No.19 was granted to Wilhelm Friedrich Wieprecht, the original Wieprecht and Moritz instrument used five valves of the Berlinerpumpen type that were the forerunners of the modern piston valve. The first tenor tuba was invented in 1838 by Carl Wilhelm Moritz, the addition of valves made it possible to play low in the harmonic series of the instrument and still have a complete selection of notes. Prior to the invention of valves, brass instruments were limited to notes in the harmonic series, harmonics starting three octaves above the fundamental pitch are about a whole step apart, making a useful variety of notes possible. The ophicleide used a brass instrument mouthpiece but employed keys. Another forerunner to the tuba was the serpent, an instrument that was shaped in a wavy form to make the tone holes accessible to the player. Tone holes changed the pitch by providing an intentional leak in the bugle of the instrument, while this changed the pitch, it also had a pronounced effect on the timbre. By using valves to adjust the length of the bugle the tuba produced a tone that eventually led to its popularity. Adolphe Sax, like Wieprecht, was interested in marketing systems of instruments from soprano to bass, the instruments developed by Sax were generally pitched in E♭ and B♭, while the Wieprecht basstuba and the subsequent Cerveny contrabass tuba were pitched in F and C. Saxs instruments gained dominance in France, and later in Britain and America, as a result of the popularity and movements of instrument makers such as Gustave Auguste Besson and Henry Distin. Afterwards there have many other various types of the Tuba including some with different types of valves different numbers. An orchestra usually has a single tuba, though an additional tuba may be asked for and it serves as the bass of the orchestral brass section and it can reinforce the bass voices of the strings and woodwinds. It provides the bass of brass quintets and choirs and it is the principal bass instrument in concert bands, brass bands and military bands, and those ensembles generally have two to four tubas. It is also a solo instrument, tubas are used in marching bands, drum and bugle corps and in many jazz bands. In British style brass bands, two E♭ and two B♭ tubas are used and are referred to as basses, tubas are found in various pitches, most commonly in F, E♭, C, or B♭

33.
Timpani
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Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper and they are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras. Timpani is an Italian plural, the singular of which is timpano and they are also often incorrectly termed timpanis. A musician who plays the timpani is a timpanist, alternative spellings with y in place of either or both is—tympani, tympany, or timpany—are occasionally encountered in older English texts. Although the word timpani has been adopted in the English language. The German word for timpani is Pauken, the French and Spanish is timbales, the Ashanti pair of talking drums are known as atumpan. The tympanum is defined in the Etymologiae of St. Isidore of Seville, est enim pars media symphoniae in similitudinem cribri. Tympanum autem dictum quod medium est, unde, et margaritum medium tympanum dicitur, et ipsum ut symphonia ad virgulam percutitur. The tympanum is skin or hide stretched over a wooden vessel which extends out. It is said by the symphonias to resemble a sieve, but has also likened to half a pearl. It is struck with a wand, beating time for the symphonia, the reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder. The basic timpani drum consists of a drumhead stretched across the opening of a bowl made of copper or, in less expensive models, fiberglass. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones, the heads tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods, the shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones, another factor that affects the timbre of the drum is the quality of the bowls surface. Copper bowls may have a smooth, machined surface or a surface with many small dents hammered into it

34.
Snare drum
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The snare drum or side drum is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick. Snare drums are used in orchestras, concert bands, marching bands, parades, drumlines, drum corps. It is one of the pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer. Snare drums are played with drum sticks, but the use of other beaters such as the brush or the rute can be used to achieve very different sounds. The snare drum is a versatile and expressive percussion instrument due its sensitivity, the snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare, marching snare, tarol snare, each type presents a different style of percussion and size. The snare drum that one might see in a music concert is usually used in a backbeat style to create rhythm. In marching bands, it can do the same but is used mostly for a front beat, in comparison with the marching snare, the kit snare is generally smaller in length between the two heads, while the piccolo is the smallest of the three. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a stick or mallet. The depth of the sound varies from snare to snare because of the different techniques, some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction. The snare drum is constructed of two heads—both usually made of plastic—along with a rattle of metal wires on the head called the snares. The wires can also be placed on the top, as in the tarol snare, the top head is typically called the batter head because that is where the drummer strikes it, while the bottom head is called the snare head because that is where the snares are located. The tension of each head is constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player, the strainer is a lever that engages or disengages contact between the snares and the head, and allows snare tension adjustment. If the strainer is disengaged, the sound of the drum resembles a tom because the snares are inactive. The rim is the ring around the batter head, which can be used for a variety of things. The drum can be played by striking it with a stick or any other form of beater, including brushes, rute and hands. When using a stick, the drummer may strike the head of the drum, when the top head is struck, the bottom head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound

35.
Bass drum
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A bass drum, or kick drum, is a large drum that produces a note of low definite or indefinite pitch. Bass drums are percussion instruments and vary in size and are used in musical genres. Three major types of bass drums can be distinguished, the type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum. It is the largest drum of the orchestra, the kick drum, a term for a bass drum associated with a drum kit. It is struck with an attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps and this is tuned to a specific pitch and is usually played in a set of three to six drums. A bass drum is cylindrical with the drums diameter much greater than the drums depth. There is normally a head at both ends of the cylinder. The heads may be made of skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings, Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics, music Bass drums have many synonyms and translations, such as Gran Cassa, Grosse caisse, Grosse Trommel, and Bombo. Bass drums are too large to be held and are always mounted in some way. The usual ways of mounting a bass drum are, Using a shoulder harness so that the heads are vertical, on a floor stand as part of a drum kit. The heads are always vertical when mounted in this way, in this situation, the heads may be adjusted to any position between vertical and horizontal. It is possible for the drum to have a single cymbal mounted on it. Bass drums can have a variety of strikers depending on the music, when the drum is mounted vertically, the mallet above may be held in one hand and a rute held in the other. 2 matching bass drum mallets or a double headed mallet are used for playing drum rolls, when used as part of a drum kit, a variation of the mallet described above is mounted on a pedal and called a beater. The earliest known predecessor to the drum was the Turkish davul

36.
Cymbal
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A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys, the majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands. Drum kits usually incorporate at least a crash, ride or crash/ride, a player of cymbals is known as a cymbalist. The word cymbal is derived from the Latin cymbalum, which is the latinisation of the Greek word κύμβαλον kymbalon, cymbal, which in turn derives from κύμβη kymbē, cup, bowl. In orchestral scores, cymbals may be indicated by the French cymbales, German Becken, Schellbecken, Tellern, or Tschinellen, Italian piatti or cinelli, many of these derive from the word for plates. Cymbals have existed since ancient times, representations of cymbals may be found in reliefs and paintings from Hittite Anatolia, Larsa, Babylon, Assyria, ancient Egypt, ancient Greece, and ancient Rome. References to cymbals also appear throughout the Bible, through many Psalms, cymbals may have been introduced to China from Central Asia in the 3rd or 4th century AD. Cymbals were employed by Turkish janissaries in the 14th century or earlier, by the 17th century, such cymbals were used in European music, and more commonly played in military bands and orchestras by the mid 18th century. Since the 19th century, some composers have called for larger roles for cymbals in musical works, and a variety of shapes, techniques. The anatomy of the plays a large part in the sound it creates. A hole is drilled in the center of the cymbal, which is used to mount the cymbal on a stand or for tying straps through. The bell, dome, or cup is the section immediately surrounding the hole. The bell produces a higher pinging pitch than the rest of the cymbal, the bow is the rest of the surface surrounding the bell. The bow is sometimes described in two areas, the ride and crash area, the ride area is the thicker section closer to the bell while the crash area is the thinner tapering section near the edge. The edge or rim is the circumference of the cymbal. Cymbals are measured by their diameter either in inches or centimeters, the size of the cymbal affects its sound, larger cymbals usually being louder and having longer sustain. The weight describes how thick the cymbal is, Cymbal weights are important to the sound they produce and how they play

37.
Triangle (musical instrument)
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The triangle is an idiophone type of musical instrument in the percussion family. It is a bar of metal, usually steel but sometimes other metals like beryllium copper, the instrument is usually held by a loop of some form of thread or wire at the top curve. It was first made around the 16th century in England, on a triangle instrument, one of the angles is left open, with the ends of the bar not quite touching. This causes the instrument to be of indeterminate or not settled or decided pitch and it is either suspended from one of the other corners by a piece of, most commonly, fishing line, leaving it free to vibrate, or hooked over the hand. It is usually struck with a beater, giving a high-pitched. Although the shape is generally in the form of an equilateral triangle. In the early days the triangles did not have an opening and had jingling rings along the lower side, the triangle is often the subject of jokes and one liners in Europe and North America as an archetypal instrument that requires no skill to play. However, triangle parts in music can be very demanding. In the hands of an expert it can be a subtle, a triangle roll, similar to a snare roll, is notated with three lines through the stem of the note. It requires the player to move the wand back and forth in the upper corner. In European classical music, the triangle has been used in the classical orchestra since around the middle of the 18th century. Wolfgang Amadeus Mozart, Joseph Haydn and Ludwig van Beethoven all used it, the first piece to make the triangle really prominent was Franz Liszts Piano Concerto No. 1, where it is used as an instrument in the third movement. In the 19th century, the triangle was used in music by Richard Wagner. Johannes Brahms uses the triangle to particular effect in the movement of his Fourth Symphony. The triangle is used extensively in Hans Rotts Symphony in E major, particularly in the BIS recording, in later recordings, the conductor has reduced its role. Most difficulties in playing the triangle come from the rhythms which are sometimes written for it. Very quiet notes can be obtained by using a much lighter beater — knitting needles are used for the quietest notes

38.
Tambourine
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The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called zils. Classically the term denotes an instrument with a drumhead, though some variants may not have a head at all. Tambourines are often used with regular percussion sets and they can be mounted, for example on a stand as part of a drum kit, or they can be held in the hands and played by tapping or hitting the instrument. Tambourines come in shapes with the most common being circular. It is found in forms of music, Turkish folk music, Greek folk music, Italian folk music, classical music, Persian music, samba, gospel music, pop music. Tambourines originated in Egypt, where they were known as the kof to the Hebrews, from the Middle Persian word tambūr lute, drum. There are several ways to achieve a tambourine roll, the easiest method is to rapidly rotate the hand holding the tambourine back and forth, pivoting at the wrist. An advanced playing technique is known as the thumb roll, the finger or thumb is moved over the skin or rim of the tambourine, producing a fast roll from the jingles on the instrument. This takes more skill and experience to master, the thumb or middle finger of the hand not holding the tambourine is run around the head of the instrument approximately one centimeter from the rim with some pressure applied. If performed correctly, the thumb should bounce along the head rapidly, usually, the end of the roll is articulated using the heel of the hand or another finger. In the 2000s, the roll may be performed with the use of wax or resin applied to the outside of the drum head. This resin allows the thumb or finger to bounce more rapidly and forcefully across the head producing an even sound, a continuous roll can be achieved by moving the thumb in a figure of 8 pattern around the head. By drummers – Drummers such as Larry Mullen, Jr. of U2 mount a tambourine above the cymbals of their hi-hat stand, tambourines in rock music are most often headless, a ring with jangles but no drum skin. The Rhythm Tech crescent-shaped tambourine and its derivatives are popular, the original Rhythm Tech tambourine is displayed in the Museum of Modern Art. Jack Ashfords distinctive tambourine playing was a dominant part of the section on Motown records. The tambourine was featured in Green Tambourine, a song with which The Lemon Pipers. Wolfgang Amadeus Mozart was among the earliest western composers to include the tambourine in his compositions, gustav Holsts seven-movement orchestral suite The Planets also features the tambourine in several places throughout the suite, especially in the Jupiter movement. Originated in Galicia or Portugal, the pandeiro was brought to Brazil by the Portuguese settlers and it is a hand percussion instrument consisting of a single tension-headed drum with jingles in the frame

39.
Gong
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A gong is an East and South East Asian musical percussion instrument that takes the form of a flat, circular metal disc which is hit with a mallet. It originated in China and later spread to Southeast Asia, Gongs are broadly of three types. Suspended gongs are more or less flat, circular discs of metal suspended vertically by means of a cord passed through holes near to the top rim, bossed or nipple gongs have a raised centre boss and are often suspended and played horizontally. Bowl gongs are bowl-shaped, and rest on cushions and belong more to bells than gongs, Gongs are made mainly from bronze or brass but there are many other alloys in use. Gongs produce two types of sound. A gong with a flat surface vibrates in multiple modes. This category of gong is called a tam-tam to distinguish it from the bossed gongs that give a tuned note. In Indonesian gamelan ensembles, some bossed gongs are made to generate in addition a beat note in the range from about 1 to 5 Hz. The use of the gong for both these types of instrument is common. Suspended gongs are played with hammers and are of two types, flat faced discs either with or without a turned edge, and gongs with a raised centre boss. In general, the larger the gong, the larger and softer the hammer, in Western symphonic music the flat faced gongs are generally referred to as tam-tams to distinguish them from their bossed counterparts, and the term gong is reserved to the bossed type only. The gong has been a Chinese instrument for millennia and their first use may have been to signal peasant workers in from the fields as some gongs are loud enough to be heard from up to five miles away. In Japan, they are used to start the beginning of sumo wrestling contests. Large flat gongs may be primed by lightly hitting them before the stroke, greatly enhancing the sound and causing the instrument to speak sooner. Keeping this priming stroke inaudible calls for a deal of skill. The smallest suspended gongs are played with sticks, or even western-style drumsticks. Contemporary and avant-garde music, where different sounds are sought, will often use friction mallets, bass bows, rock gongs are large stones struck with smaller stones to create a metallic resonating sound. By far the most familiar to most Westerners is the chau gong or bullseye gong, large chau gongs, called tam-tams have become part of the symphony orchestra

40.
Glockenspiel
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A glockenspiel is a percussion instrument composed of a set of tuned keys arranged in the fashion of the keyboard of a piano. In this way, it is similar to the xylophone, however, the glockenspiel, moreover, is usually smaller and higher in pitch. In German, a carillon is also called a Glockenspiel, while in French, in music scores the glockenspiel is sometimes designated by the Italian term campanelli. When used in a marching or military band, the bars are mounted in a portable case and held vertically. However, sometimes the bars are held using a harness similar to a marching snare harness. In orchestral use, the bars are mounted horizontally, a pair of hard, unwrapped mallets, generally with heads made of plastic or metal, are used to strike the bars, although mallet heads can also be made of rubber. If laid out horizontally, a keyboard glockenspiel may be contrived by adding a keyboard to the instrument to facilitate playing chords, another method of playing chords is to use four mallets, two per hand. The glockenspiel is limited to the register, and usually covers about two and a half to three octaves, but can also reach up to three and a half octaves. The glockenspiel is an instrument, its parts are written two octaves below the sounding notes. When struck, the give an very pure, bell-like sound. Glockenspiels are quite popular and appear in almost all genres of music ranging from hip-hop to jazz. A keyboard-operated glockenspiel, as played by Danny Federici on such hit songs as Born to Run and Hungry Heart, is considered part of Bruce Springsteen, john Lennon also plays it on Only a Northern Song. Panic. at the Disco have used glockenspiel in several of their songs, including their hits I Write Sins Not Tragedies and Build God, Then Well Talk. Radiohead have used glockenspiel on their single No Surprises as well as on The Tourist, Lull, Morning Bell/Amnesiac, Sit Down/Stand Up, songs From the Wood, Heavy Horses and Stormwatch. Solo glockenspiel can be heard briefly, but notably at the beginning of Shostakovichs 15th Symphony, a modern example of the glockenspiel can be heard in Steve Reichs 1970–71 composition Drumming, in which the glockenspiel plays a major role in the third and fourth movements. Other instruments that work on the same principle as the glockenspiel include the marimba. The Dulcitone has a sound to the glockenspiel since its sound is made by hammers striking tuning forks. The dulcitone uses soft hammers which damp the forks, compared to the hammers of the glockenspiel

41.
Xylophone
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The xylophone is a musical instrument in the percussion family that consists of wooden bars struck by mallets. The term xylophone may be used generally, to all such instruments such as the marimba, balafon. The term is popularly used to refer to similar instruments of the lithophone and metallophone types. The bars of metal sound more high pitched than the wooden ones, the modern western xylophone has bars of rosewood, padauk, or various synthetic materials such as fiberglass or fiberglass-reinforced plastic which allows a louder sound. Some can be as small a range as 2½ octaves but concert xylophones are typically 3½ or 4 octaves, the xylophone is a transposing instrument, its parts are written one octave below the sounding notes. Xylophones should be played with hard rubber, polyball, or acrylic mallets. Sometimes medium to hard rubber mallets, very hard core, or yarn mallets are used for softer effects, lighter tones can be created on xylophones by using wooden-headed mallets made from rosewood, ebony, birch, or other hard woods. Concert xylophones have tube resonators below the bars to enhance the tone, frames are made of wood or cheap steel tubing, more expensive xylophones feature height adjustment and more stability in the stand. In other music cultures some versions have gourds that act as Helmholtz resonators, others are trough xylophones with a single hollow body that acts as a resonator for all the bars. Old methods consisted of arranging the bars on tied bundles of straw, ancient mallets were made of willow wood with spoon-like bowls on the beaten ends. The instrument has obscure, ancient origins, according to Nettl, it originated in southeast Asia and came to Africa c. AD500 when a group of Malayo-Polynesian speaking peoples migrated to Africa, one piece of evidence for this is the similarity between East African xylophone orchestras and Javanese and Balinese gamelan orchestras. This, however has been questioned by ethnomusicologist and linguist Roger Blench who posits an independent origin in Africa, the xylophone-like ranat was used in Hindu regions. Java and Bali use xylophones in gamelan ensembles and they still have traditional significance in Africa, Malaysia, Melanesia, Indonesia, Thailand, Myanmar, and regions of the Americas. The term marimba is also applied to traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd, the wood is first roasted around a fire before shaping the key to achieve the desired tone. A skilled maker can produce startling amplification, the mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant. This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm, the Mbila is associated with the Chopi people of the Inhambane Province, in southern Mozambique

42.
Celesta
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The celesta /sᵻˈlɛstə/ or celeste /sᵻˈlɛst/ is a struck idiophone operated by a keyboard. It looks similar to a piano, albeit with smaller keys. The keys connect to hammers that strike a set of metal plates or bars suspended over wooden resonators. Four- or five-octave models usually have a pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small table-top design, one of the best-known works that uses the celesta is Tchaikovskys Dance of the Sugar Plum Fairy from The Nutcracker. The sound of the celesta is similar to that of the glockenspiel and this quality gave the instrument its name, celeste meaning heavenly in French. The celesta is used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections, as well, the celesta is a transposing instrument, it sounds one octave higher than the written pitch. Its sounding range is considered to be C4 to C8. The original French instrument had a range, but because the lowest octave was considered somewhat unsatisfactory. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist. The celesta part is written on two braced staves, called a grand staff. The celesta was invented in 1886 by Parisian harmonium builder Auguste Mustel and his father, Victor Mustel, had developed the forerunner of the celesta, the typophone, in 1860. This instrument produced sound by striking tuning forks instead of the plates that would be used in the celesta. The dulcitone functioned identically to the typophone and was developed concurrently in Scotland, the typophone/dulcitones uses were limited by its low volume, too quiet to be heard in a full orchestra. Pyotr Tchaikovsky is usually cited as the first major composer to use this instrument in a work for symphony orchestra. He first used it in his symphonic poem The Voyevoda, Op. posth. The following year, he used the celesta in passages in his ballet The Nutcracker, most notably in the Dance of the Sugar Plum Fairy, which also appears in the derived Nutcracker Suite, Op. 71a

43.
Piano
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The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches

The French horn (since the 1930s known simply as the "horn" in some professional music circles) is a brass instrument …

A hunting horn on the insignia of the Danish "Huntsmen Corps" (Jægerkorpset)

The valves of a Conn 6D double horn. The 3 lever keys (above the large valves) can be depressed toward the large outer tube. The thumb key (near the left-most valve) moves inward toward the 3 finger keys.

A natural horn has no valves, but can be tuned to a different key by inserting different tubing, as during a rest period.

The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700 …

Image: Grand piano and upright piano

Grand piano by Louis Bas of Villeneuve-lès-Avignon, France, 1781. Earliest French grand piano known to survive; includes an inverted wrestplank and action derived from the work of Bartolomeo Cristofori (ca. 1700) with ornately decorated soundboard.

Tenor is a type of classical male singing voice whose vocal range is between the countertenor and baritone voice types. …

Tenor voice range (C3–C5) notated on the treblestaff (left) and on piano keyboard in green with dot marking middle C (C4). Note that the numeral eight below the treble clef indicates that the pitches sound an octave lower than written: see Clef#Octave clefs. This is the standard clef for tenor parts in scores.